We seldom consider how much we mistakenly presume in hewing to definitions of music that differ dramatically from the standpoint of other cultures. In What Makes Music European, Marcello Sorce Keller examines the limitations of accepted wisdom about the concept of music in Euro-Western culture. His investigations of the conclusions reached by music researchers of the past several decades considerably upsets the concepts relied upon by the concert-going public. Sorce Keller insightfully asks: Who makes the music? Should music be original, and how much can it be? Why do people identify with songs, pieces, styles, and repertoire? Why is music so ideological? Why do we misunderstand the music of different times and places, and why do we enjoy doing so? He also explores the juxtaposition of economy, society, and music making, as well as the concept of "illegal harmonies." In What Makes Music European, Sorce Keller addresses the little-discussed matters that are essential to an understanding of how music intersects with the life of so many people. Readers are offered an approach for thinking about music that depends as much on its history as on the concepts and attitudes of the social sciences. What Makes Music European concisely demonstrates, to those familiar with Western music, how peculiar Euro-Western concepts of music appear from a cross-cultural perspective. At the same time, it encourages ethnomusicologists to apply their knowledge to Western music and explain to its public how much of what listeners take for granted is, at the very least, highly debatable.

Musical representations of Europe in myth and allegory are well known, but when and under what circumstances did the words "European" and "music" become linked together? What did the resulting term mean in music before 1800 and how did it evolve into the label "Western music," which features so prominently in pedagogical and scholarly discourses? In The Making of European Music in the Long Eighteenth Century, author D. R. M. Irving traces the emergence of such large-scale categories in Western European thought. Beginning in the 1670s, Jesuit missionaries in China began to refer to "European music," and for the next hundred years the term appeared almost exclusively in comparison with musics from other parts of the world. It entered common use from the 1770s, and in the 1830s became synonymous with a new concept of "Western music." Western European writers also associated these terms with notions of "progress" and "perfection." Meanwhile, changing ideas about "modern" Europe's cultural relationship with classical antiquity, together with theories that systematically and condescendingly racialized people from other continents, influenced the ways that these scholars imagined and interpreted musical pasts around the globe. Irving weaves his analyses throughout the book's historical examinations, suggesting that "European music" originates from self-fashioning in contexts of intercultural comparison outside the continent, rather than from the resolution of national aesthetic differences within it. He shows that "Western music" as understood today arose in line with the growth of Orientalism and increasing awareness of musics of "the East." All such reductive terms often imply homogeneity and essentialism, and Irving asks what a reassessment of their beginnings might mean for music history. Taken as a whole, the book shows how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe.

In times of crisis and rising skepticism towards the idea of European integration, the ALLEA book series Discourses on Intellectual Europe represents an effort from the scientific community in tackling these challenges for society's commitment to Europe as an enduring cultural and intellectual region.

Two decades after the fall of communism in Eastern Europe and one decade into the twenty-first century, European music remains one of the most powerful forces for shaping nationalism. Using intensive fieldwork throughout Europe -- from participation in alpine foot pilgrimages to studies of the grandest music spectacle anywhere in the world, the Eurovision Song Contest -- Philip V. Bohlman reveals the ways in which music and nationalism intersect in the shaping of the New Europe. Focus: Music, Nationalism, and the Making of the New Europe begins with the emergence of the European nation-state in the Middle Ages and extends across long periods during which Europe’s nations used music to compete for land and language, and to expand the colonial reach of Europe to the entire world. Bohlman contrasts the "national" and the "nationalist" in music, examining the ways in which their impact on society can be positive and negative -- beneficial for European cultural policy and dangerous in times when many European borders are more fragile than ever. The New Europe of the twenty-first century is more varied, more complex, and more politically volatile than ever, and its music resonates fully with these transformations.

The Sámi are Europe’s only recognized indigenous people living across regions of Norway, Sweden, Finland and the Russian Kola peninsula. The subjects of a history of Christianization, land dispossession, and cultural assimilation, the Sámi have through their self-organization since World War II worked towards Sámi political self-determination across the Nordic states and helped forge a global indigenous community. Accompanying this process was the emergence of a Sámi music scene, in which the revival of the distinct and formerly suppressed unaccompanied vocal tradition of joik was central. Through joiking with instrumental accompaniment, incorporating joik into forms of popular music, performing on stage and releasing recordings, Sámi musicians have played a key role in articulating a Sámi identity, strengthening Sámi languages, and reviving a nature-based cosmology. Thomas Hilder offers the first book-length study of this diverse and dynamic music scene and its intersection with the politics of indigeneity. Based on extensive ethnographic research, Hilder provides portraits of numerous Sámi musicians, studies the significance of Sámi festivals, analyzes the emergence of a Sámi recording industry, and examines musical projects and cultural institutions that have sought to strengthen the transmission of Sámi music. Through his engaging narrative, Hilder discusses a wide range of issues—revival, sovereignty, time, environment, repatriation and cosmopolitanism—to highlight the myriad ways in which Sámi musical performance helps shape notions of national belonging, transnational activism, and processes of democracy in the Nordic peninsula. Sámi Musical Performance and the Politics of Indigeneity in Northern Europe will not only appeal to enthusiasts of Nordic music, but, by drawing on current interdisciplinary debates, will also speak to a wider audience interested in the interplay of music and politics. Unearthing the challenges, contradictions and potentials presented by international indigenous politics, Hilder demonstrates the significance of this unique musical scene for the wider cultural and political transformations in twenty-first-century Europe and global modernity.

The SAGE Encyclopedia of Music and Culture presents key concepts in the study of music in its cultural context and provides an introduction to the discipline of ethnomusicology, its methods, concerns, and its contributions to knowledge and understanding of the world's musical cultures, styles, and practices. The diverse voices of contributors to this encyclopedia confirm ethnomusicology's fundamental ethos of inclusion and respect for diversity. Combined, the multiplicity of topics and approaches are presented in an easy-to-search A-Z format and offer a fresh perspective on the field and the subject of music in culture. Key features include: Approximately 730 signed articles, authored by prominent scholars, are arranged A-to-Z and published in a choice of print or electronic editions Pedagogical elements include Further Readings and Cross References to conclude each article and a Reader’s Guide in the front matter organizing entries by broad topical or thematic areas Back matter includes an annotated Resource Guide to further research (journals, books, and associations), an appendix listing notable archives, libraries, and museums, and a detailed Index The Index, Reader’s Guide themes, and Cross References combine for thorough search-and-browse capabilities in the electronic edition

The year 1917 was unlike any other in American history, or in the history of American music. The United States entered World War I, jazz burst onto the national scene, and the German musicians who dominated classical music were forced from the stage. In this unsettled time, no one was safe from suspicion, but America's passion for music made the rewards high for those who could balance musical skill with diplomatic savvy.

An expanded and updated edition of this acclaimed, wide-ranging survey of musical theatre in New York, London, and elsewhere.

Music has gained the increasing attention of historians. Research has branched out to explore music-related topics, including creative labor, economic histories of music production, the social and political uses of music, and musical globalization. This handbook both covers the history of music in Europe and probes its role for the making of Europe during a "long" twentieth century. It offers concise guidance to key historical trends as well as the most important research on central topics within the field.

In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience—music—the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.